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Phil Holland was always fascinated in the world of movie making. Since 1999 while at R&H he has contributed in some way on over 60 feature films. He also freelances as a conceptual illustrator and commercial photographer in his spare time. Phil is a featured artist at ConceptArt.org and enjoys contributing to the growing creative community through teaching and mentoring. He is currently working on getting his own projects into production while exploring his interests in directing and other creative fields.

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* I draw everyday
That’s basically how it’s been for the last seven years of my life. Yeah. I’ve missed a day or two here and there, but basically, I draw everyday. So why on earth would somebody do that for seven years?

I was a normal kid. I enjoyed comic books, movies, and video games. I would daydream a lot. I drew as a child and not really think about it. I don’t think I was very good at all. I do remember seeing Rockwell paintings and old European artist’s work and just staring at them in awe. Just wondering how they did that……

All of this saturation from visual entertainment seemed to slowly lead me somewhere. Something happened to me around the age of 18 that made me turn down science scholarships at school and shove a drafting table into my room. That “thing” would be a deep desire to create. The next few years would see endless nights and days of drawing. Usually somewhere between 4 and 10 hours a day. I wanted to get better. I needed to get better

However, this article isn’t about my need to challenge myself and become a better artist. However, the time frame in which all of this happens is entirely relevant.

* Computers and the internet
You see, when I was 18 I was just started to paint artwork on the computer. I didn’t really have any other artist friends at the time and the other artists I knew didn’t know anything about computers. All I knew was mom and dad weren’t amazed at the decision I made about not going to college and that hat a very deep urge to get into film or games. I was in the process of educating myself. I wanted to learn.

Like many people, I turned to the internet.

Around this time online web forums were becoming rather popular and for some reason I stumbled upon a particular forum that contained digitally painted artwork. I was shocked that there were other people in the world doing this! I mean, I knew that professional matte painters were now able to do matte paintings on the computer, but to see other artists painting characters, landscapes, and other things. There were only around a thousand members at the time and only a few of them posted artwork. The one thing that all of these people had in common was that they all wanted to become better artists. These early days of the forums were precious and special. People helped each other out. Answered questions and even started collaborating.

Eventually other artists caught on. Then one thousand members quickly turned into several thousand members. Younger artists joined. New members didn’t bother reading the information in old threads. People were copying other peoples work. Large personalities who couldn’t take criticism seemed to start popping up more and more. Other forums were made and experienced the same problems. Things basically got pretty bad and repetitive. Those cherished early days were gone and for a while I thought that’s how the art forums would stay.

* ConceptArt.org
Enter ConceptArt.org. In 2002 Jason Manley and Andrew Jones created a new forum. The original idea was to have a place where working pros and fellow artists they’ve met over the years could have a place to congregate.

This new art forum had a different feel. It had the some of the same faces I knew from other forums, but the attitude here was different. Soon more pros signed up. Teachers, fine artists, illustrators, comic artists, storyboard artists, matte painters, 3d modelers, texture artists, character and game designers.

Artists beginners and not started joining and posting at an amazing rate.

The new attitude spread across ConceptArt.org and infect the users. It was a helpful and educational feeling. Professionals started posting useful critiques and wanted the same. Teachers started posting figure drawing notes and tutorials on color theory. Pros were posting daily. Some were given guest areas that would just show their work. Beginning artists and intermediate artists began sketch threads to show their improvement over time. Employers started posting job opportunities. People in local areas started getting together for sketch groups.

Something good was happening – and it still is.

Over the last three years ConceptArt.org has been able to maintain a level of civility that most other web forums could only dream of. The forum is approximately 15,000 members strong. What started out as a simple web forum where people could just post and talk about artwork has transformed into an amazing educational resource for artists.

* The Workshops (These people are real?)
With such a large audience interested in art education it seems natural to conduct ConceptArt.org workshops. There have been three workshops to date and an upcoming workshop in Prague. I just recently attended the San Francisco workshop in January. I also attended the Austin workshop in June of 2004.

I am going to preface this by saying that there is nothing like attending one of these workshops. The two that I’ve been two have been the largest round up of talented artists I’ve ever seen. I actually initially considered not going initially. However, Jason constantly told me to “Just get out here”. I’m glad I listened.

Basically, these workshops last four days. The first three days consist of figure drawing/painting, color and design theory lectures, and individual artist demos. The last day is dedicated to portfolio review, and networking. Topics range from beginner to intermediate. Both of the workshops that I have attended had around 300 attendees. These attendees consisted of people as young as 16 to industry professionals. People working in art for over ten years to people who started drawing two weeks prior to the workshop. With such a broad audience available a lot can be covered. There’s really something for everybody at the workshops.

The workshops themselves are a very friendly and casual environment. There is a curriculum, but it’s up to you to go to the demos that you want to attend. There are usually several running at the same time. If you see something you like, get up and go to that area. Listen, take notes, and ask questions. The instructors are easily accessible for one on one discussion. There is a lot of experience between all of the instructors. The experiences you here about working in the industry are worth the price of admission.

An interesting byproduct of having all of these artists around is the phenomenon of late night hotel sketch groups. You’ll stay up way too late laughing, drawing, and making friends. I didn’t sleep more then two hours any day I was in Austin. I was taxing from one hotel and going to the next at 3am just to sketch with a different group of people. Seeing 20 artists cram into a hotel room or hotel lobby is not something you experience everyday. My experience is San Francisco was different because I became rather ill. So lack of sleep really wasn’t an option this time.

This year the workshop challenged artists to a group Thunderdome. This is a contest to design something on a specific subject. The topic this year was angels. So a lot of those late nights in hotels were spent by artists coming up with ideas. The winner received a free copy of Painter IX. Corel was on site promoting Painter as well. Another welcomed promotion was the free educational dvds handed out by the Gnomon Workshop. Each attendee receives two educational dvds that cover many different topics. There’s even media coverage. G4/TechTv and local cable stations have interviewed attendees and instructors.

The most important day of the workshop for aspiring production artists looking for work is the last day. On the portfolio review day every attendee has the opportunity to talk to the pros and potential employers. The San Fran workshop had around 16 companies being represented. I don’t know many events that really allow an intimate interview with potential employers. What the artists get from this day of critique is invaluable. People are given challenges and time frames to improve. Some people are even hired on the spot.

My interests surround conceptual design, fine art, and illustration. There currently isn’t a better educational event for a guy like me. This is my life’s passion. Every drop of knowledge is worth absorbing. Even demonstrations on topics that you feel you have a grasp on are worth listening to.

I knew immediately when I was at the Austin workshop that I was in the right place when I listened to Jason Manley’s and Ron Lemen’s color and composition lecture. For the first time in my life besides the artists where I work I met people who seemed to have the same passion for art that I did. They were speaking the language. A language that I was previously only speaking to myself.

I can’t recommend going to one of these workshops enough. If you are an artist or an art enthusiast this is an event that shouldn’t be missed.

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